Whether you are an entry-level or a hardcore Eames fan, you will enjoy the new documentary film “Eames: The Architect and the Painter” by filmmakers Jason Cohn and Bill Jersey. This fascinating documentary covers the career of Charles and Ray Eames, including the insightful personal account behind the designs and the nature of the collaboration of two of  America’s most important designers (design pioneers). Narrated by James Franco, this is the first film dedicated to the couple since their deaths.

Eames: The Architect and the Painter

I sometimes find documentary films rather boring, but there is never a dull moment in this 84-minute film filled with a wide array of archival materials and interviews with individuals who had close proximity with Charles and Ray Eames. It is very well-crafted in presenting how the couple defined postwar modernist aesthetic through not only with their furniture designs but also with their other projects such as films and exhibitions.

In addition, the film reveals more intimate and emotional side of the couple’s lives which remained very private while they were alive. If you ask me about what I think of including Charles’s love affair in the film – I’d say “that’s a little TMI.” All these years, I sort of “romanticized” about the couple’s relationship – their partnership seemed so perfect in work and life. However, what I have learned about the couple in this film doesn’t change anything about how I admire them – actually I see them as more “real people” than just the “design legend.”

If you are fairly new to the world of Charles and Ray Eames, “Eames: The Architect and the Painter” will give you a wealth of information well beyond their furniture design. If you are a big Eames fan like me, this film will let you fall in love with the Eameses all over again for sure!

Now playing at selected theatres – find playdates here.

Filmmakers – Jason Cohn & Bill Jersey
Studio – First Run Features
Run Time – 84 minutes
Language – English
Format – Digital
Year – 2011
Genre – Documentary

Will be available on DVD on December 13th, 2011. Preorder available at First Run Features and many other retailers:

© HAND CRAFTED MODERN: At Home with Mid-Century Designers by Leslie Williamson, Rizzoli New York, 2010

In Handcrafted Modern: At Home with Mid-century Designers (Rizzoli New York, 2010), Leslie Williamson shares the beautiful images of the very intimate personal and work spaces of: Wharton Esherick, George Nakashima, Harry Bartoia, Russel Wright, Jens Risom, Eva Zeisel, Vladimir Kagan, Irving Harper, Walter Gropius, Jerome & Evelyn Ackerman, Charles & Ray Eames, J.B. Blunk, John Kapel, and Albert Frey. Many of these homes appear in print for the first time.

© Leslie Williamson

Williamson successfully captured 250 intimate photographs of these designers’ homes exactly as they were lived in. If you are not familiar with some of these designers, don’t worry. Williamson has included a brief introduction and other tidbits of each designer before showcasing the photographs. Her photographs have a warm, natural feeling to them – they make me feel as if I was actually standing in the same space. I know a little bit about photography – I am very impressed that she captured all these astonishing images using only natural lights.

© Leslie Williamson

HANDCRAFTED MODERN: At Home with Mid-Century Designers will be a great addition to your mid century modern library. You will NOT be disappointed!

© Leslie Williamson

Photo Courtesy: © Leslie Williamson 2010
All photos are used with permission from the publisher

Book Summary
Title: HANDCRAFTED MODERN: At Home with Mid-Century Designers
Author: Leslie Williamson
Format: Hardcover, 224 pages
Publisher: Rizzoli (October 12, 2010)
Language: English
ISBN-10: 0847834182
ISBN-13: 978-0847834181

Cherner Armchair

Norman Cherner (1920 – 1987) was best known for his furniture design using molded plywood. His work also included prefabricated housing, graphics, glassware and lighting. Norman studied and taught at the Columbia University Fine Arts Department. From 1947 to 1949, he was an instructor at the Museum of Modern Art in New York.

Chairs (designed by Norman Cherner) and table (designed by Benjamin Cherner)

Originally designed for Plycraft in 1958, the molded plywood “Cherner Chair” became Norman Cherner’s most recognized design. Production of The molded plywood seating line for Plycraft continued until the early 1970s. Norman Cherner’s seating was rarely seen for almost 20 years until the Cherner Chair Company was formed in 1999.

In addition to Norman Cherner design, the Cherner Chair Company manufactures products designed by Benjamin Cherner as well. Benjamin Cherner is the son of Norman Cherner and the founder of the Cherner Chair Company. He is a registered architect in New York and Connecticut and a head of the design studio called Chernerdesign.

George Nelson Block Clock by Vitra

The very first clock created by George Nelson (with collaboration of other designers, aka “George Nelson Associates”) was “Clock 4755” (Ball Clock) for Howard Miller Clock Company in 1947. Howard Miller Clock Company was established in 1926 by Howard C. Miller in Zeeland, Michigan. The company focused on manufacturing chiming wall and mantel clocks in the early years. During the 1940s and 1950s, the company ventured into more aesthetic designs to incorporate postwar modernism trend. The company then reverted to more traditional designs like grandfather clocks in the 1960s and eventually became known as the largest grandfather clock manufacturer in the world.

Howard Miller George Nelson Clock Ad

George Nelson Associates designed approximately 150 clocks for Howard Miller. They were simply identified by model numbers such as “Clock 4755” (Ball Clock), “Clock 2238” (Eye Clock), “Clock 2202” (Sunburst Clock) and so forth. There were different color options available for most designs. All clocks were powered by electricity. George Nelson Associates design clocks are no longer in production by Howard Miller, except one: “625-333 Ball Clock,” adaptation of a classic Ball Clock. The 625-333 Ball Clock is slightly bigger (14” diameter) than the original Ball Clock (13” diameter). The 625-33 Ball Clock only comes in one color, brushed nickel center and 12 black satin balls on nickel finished rods.

625-333 Ball Clock

Many of the designs of George Nelson clocks (licensed reproductions) are currently available through Vitra. Headquartered in Switzerland, Vitra manufactures furniture and home accessories designed by iconic mid century modern designers such as Charles & Ray Eames and George Nelson. If you are looking for a vintage George Nelson clock, check online auction such as eBay or online market place/classifieds such as Lushpad or Craigslist. If you are lucky, you may find one at an estate sale, a yard sale, etc. George Nelson Vitra Clocks are widely available at many retailers. There are many knock-offs out there as well, so be aware!

Museum Entrance Area

The Isamu Noguchi Garden Museum Japan preserves 150 sculptures, including many unfinished works. The most unfinished sculptures are located outdoor atelier, inside of the stone circle. The place does not feel like an ordinary museum – there are no name tags on any of individual works. The working atmosphere of Noguchi’s studio is very well preserved that it almost feels like you can expect to see Noguchi himself to walk up at any time.

The Stone Circle

The indoor sculpture space called “Display Kura” outside of the stone circle contains Noguchi’s sculptures including the Energy Void (1972). The building was originally a sake warehouse from the1880s. It was relocated to this location to house his sculptures, keeping them away from the weather.

The Isamu Ya (Noguchi residence) is located across from his studio. The house is a traditional Japanese style house from the 1760s. Although Noguchi adored the traditional architecture of this house, he enjoyed modern conveniences as well – heated tatami floors! The visitors can only view the interior from the entrance and through the windows. The house is uncluttered and has little furnishing.

The Noguchi House behind the sculpture on the right

There is the Sculpture Garden on the hill behind the Isamu Ya. The view from the hill was magnificent. I could just sit and enjoy the view for hours and hours. Noguchi described this garden as “a song of praise to nature.” He said, “It is a wonderful place to be at, almost anytime… Nature rampant. Then I take a snooze. And a friend comes to visit.”

The Museum Shop

The day I visited the museum was cold and rainy. There were about 17 people in my tour group and many were complaining about the unfortunate weather situation. I thought the rain was nice, giving the outdoor sculptures a soft feeling and different expressions that can only be seen when the stones were wet. I really enjoyed the rustic scenery where everything was so quite, away from the city disruptions. After everyone had left, I went back a little street towards the studio, just to enjoy the quietness. I closed my eyes and listened the rainfall, imaging the sound of Noguchi working on his sculpture echoing among the hills.

Kouros (1944-1945)

Noguchi returned to the United States in 1918 for schooling. He later enrolled in Columbia University to study medicine, while at the same time taking sculpture classes at Leonardo da Vinci Art School. It did not take too long for Noguchi to realize his true calling was art, not medicine. He left Columbia to pursue sculpture full time. In 1927, Noguchi left for Paris on a Guggenheim Memorial Fund Fellowship and worked with a sculptor, Constantin Brancusi. He then traveled through Europe and Asia and finally returned to New York City in 1929. In New York, Noguchi earned recognition with his portrait sculpture. Noguchi’s artistic career spanned from then to next 60 decades. He was known for his sculpture, public works, stage set designs, furniture, and light fixtures.

Red Cube in NYC

For mid century modern design enthusiasts like us, Noguchi is most well known for his furniture and interior designs. Noguchi designed his first table in 1939, a commission for A. Conger Goodyear, the president of the Museum of Modern Art. This glass top table with rosewood supports was the first of a series of related designs. His revised table design was used to illustrate George Nelson’s article entitled “How to Make a Table.” The table was put in production by Herman Miller between 1947 and 1973. This “Isamu Noguchi Coffee Table” became one of his most well known works and was reissued by Herman Miller in 1984. In addition to the famous coffee table, Noguchi designed other furniture pieces and light fixtures such as Cyclone Tables, Rocking Stools, Cylinder Lamp, a series of Akari lamps etc.

Isamu Noguchi Coffee Table

Today, Noguchi’s notable works are seen in many parts of the world and at the Noguchi Museum in Long Island City in New York and the Isamu Noguchi Garden Museum Japan in Mure, Japan.

Tramway Gas Station (now the Palm Springs Visitor's Center)

Albert Frey (1903 – 1998) was a Swiss-born architect who had contributed in introducing a modern architecture style that came to be known as “desert modernism” around Palm Springs, California. Born in Zurich, Switzerland, Frey was trained as an architect at the Institute of Technology in Winterthur, Switzerland. Frey worked on various architectural projects in Belgium until he landed on a position in the Paris atelier of the International Style architect, Le Corbusier in 1928.

Frey came to New York in 1930. He was the first Le Corbusier disciple to practice architecture in the United States. In New York, he became partners with A.L. Kocher in developing the innovative Aluminaire House for an exhibition in 1932. It was 1934 when Frey was introduced to the California desert. He came to Palm Springs to supervise a construction project of the Kocher-Samson Building. Frey briefly returned to New York, but permanently relocated to Palm Springs in 1939.

Palm Springs City Hall

In Palm Springs, Frey worked on many structures including residential, commercial, institutional, and civic buildings, often partnering with other architects such as John Porter Clark and Robson C. Chambers. Significant structures by Frey include: Frey House I and II; Palm Springs City Hall, Palm Springs Aerial Tramway Valley Station, and Tramway Gas Station (now used as the Palm Springs Visitor’s Center). These iconic buildings became the landmarks of Palm Springs and attract many visitors from all over the world today.

Ant Chair

Arne Jacobsen (1902 – 1974) was a multi-talented Danish modern designer mostly known for his architectural work and furniture design. In addition, Jacobsen showed his talent in designing consumer goods, lamps and textiles. Jacobsen was originally trained as a mason, but later pursued his studies at the Royal Danish Academy of Fine Arts in Copenhagen, graduating in 1928.

Arne Jacobsen opened his own architectural office in 1930. His first major architectural project was the Bellavista housing development in the early 1930’s. Jacobsen’s most known architectural projects include SAS (the airline company) building which contained an airport terminal as well as the Royal Hotel in Copenhagen and St. Catherine College in Oxford, England. For the Royal Hotel, Jacobsen designed every detail from furniture including his famous “Swan” and “Egg” chairs to textiles, lighting, wall panels, door hardware and tableware. For St. Catherine’s he designed every detail as well.

Models 3207, 3108 and 3107 Chairs

Other than the “Swan” and “Egg” chairs designed for the Royal Hotel, Arne Jacobsen’s notable furniture designs include the three legged (later a four legged version was also introduced) stackable chair called the “Ant” chair (1952) and the “3107” chair (1955), also known as the “Series 7” chair. The “Ant” and “Series 7” chairs were manufactured by Fritz Hansen in great numbers and the success of these chairs propelled both Jacobsen and Fritz Hansen’s names into furniture history.

Fritz Hansen has been manufacturing Jacobsen’s furniture since 1930’s and remains the same to this day. Just like many other mid century/Danish modern designers, Jacobsen created sleek, elegant, yet functional furniture pieces with timeless appeal that are cherished by many people today.

Panton Chair

Verner Panton (1926 – 1998) was one of the most influential Danish modern designers of the 20th century. Over the course of his career, Panton successfully introduced ground breaking interior designs, including furniture, lighting, floor covering, wall covering, and textiles using a variety of materials and vibrant colors.

Just like many others designers of the era, he was trained as an architect. Panton studied architecture at the Royal Danish Academy of Fine Arts in Copenhagen. After graduating the academy, he started his apprenticeship for Arne Jacobsen in early 1950’s, assisting Jacobsen’s various projects including the iconic “Ant” chair. In 1955, Panton opened his own practice in Copenhagen. In following years, he introduced innovative architectural ideas, such as the prefab collapsible house (1955), the “Cardboard House” (1957), and the “Plastic House” (1960).

Verner Panton Lamps

Panton’s innovative chair designs were probably his most significant contribution to mid century design. In 1958, Panton introduced “Cone” chair and later, “Heart” chair, on a slight variation. Both chairs were made of upholstered conical sheet metal, with a tip pointing down, placed on a cross shaped metal base. In 1960, the “Stacking” or “S” chair (or simply known as “Panton chair”) was introduced. The Panton chair was the first example of single-piece injection molded plastic, but its production was delayed because of the technological challenges. In 1967, the Panton chair was finally put into production by Vitra, the European licensee of Herman Miller, Inc. The success of the Panton chair brought him international recognition.

With his success in chair designs, Panton made his name as a visionary designer. In the late 1960’s and early 1970’s Panton began experimenting in designing entire living spaces by fusing different elements such as flooring, walls, lighting, furniture, and soft furnishings with vivid colors and geometric shapes. Panton’s unique designs are easily recognizable. Many of his designs are still in production today by the companies like Vitra and Fritz Hansen.

Photo: Verner Panton Lamps by Hollaender

At Herman Miller, Girard successfully introduced a new concept in textile design with his vibrant color palette and playful patterns inspired by traditional folk art he cherished. In early 1950s, fabrics were merely functional, but they tended to be dull and plain. His textile designs complemented the furniture designs of his fellow mid century modern designers, Charles Eames and George Nelson. Girard’s work at Herman Miller continued until 1975, designing hundreds of fabrics as a result. He also developed a seating collection for the company between 1967 and 1968. Originals from this collection are rare and highly desirable among many collectors today.

Apart from Herman Miller, Girard designed three restaurants in 1960’s: the La Fonda del Sol restaurant, in New York City; the L’Etoile Restaurant, also in New York City; and the Compound Restaurant, in Santa Fe, New Mexico. He also contributed in a design project of Braniff Airlines in mid 1960’s, totally redesigning everything from the condiment packets to the planes themselves. During 1960’s, Girard and his wife Susan moved to Santa Fe, New Mexico where he founded the Girard Foundation to manage more than 100,000 pieces of his folk art collection. This enormous collection was donated to the Museum of International Folk Art in Santa Fe in 1978 and recognized as the world’s largest folk art collection today.

After retiring from the design industry, many of Girard’s designs fell into disuse. Partnering with the Estate of Alexander Girard, a company called máXimo reintroduced Girard’s designs in 2000. Products available today include fabrics, cushions, wooden dolls, toys and carpet tiles. Girard’s unique, colorful and charming designs remain fresh and vibrant and are still cherished by many people today.